Posts tagged “philadelphia”

Max Grinnell is an author, historian, and professor who enjoys sharing unique perspectives of American cities. Last summer, he visited Cincinnati to host a series of walking tours that offered a historical look at the city’s urban core. This June, Grinnell is bringing back the tour, which compares the Cincinnati of 1943 to the city today.

The walking tour is inspired by Cincinnati: A Guide to the Queen City and Its Neighbors, a book published in 1943 for the Federal Writers’ Project. This book was a part of the American Guide Series, also known as the WPA guides, which was a program funded by the New Deal to employ writers during the Great Depression. Today, the book serves as a snapshot of 1943 Cincinnati, when the city’s population was 455,610 and now-iconic structures like Carew Tower and Union Terminal were just a decade old.

“I consider it one of the better city guides produced by the Federal Writers’ Project, and that’s significant, considering other volumes considered New Orleans, Philadelphia, and others,” Grinnell told UrbanCincy.

The 60-minute tour will be similar to the ones Grinnell hosted last year, but also include some new elements, such a focus on the Netherland Plaza Hotel and its intricate details.

There has been an unfortunate trend in some urbanist circles to blame architects — or at least so-called “starchitects” in particular — for all of the world’s problems, to the point where it has almost become a trope. The latest example is a recent piece by the Project for Public Spaces titled “Let’s Stop Letting Starchitects Ruin College Campuses“. In the article, the University of Cincinnati’s Signature Architecture Program is singled out as a cause of rising tuition:

One of the boldest examples comes from the University of Cincinnati, which has enlisted a “murderers’ row” of architects to redesign their campus, including Frank Gehry, Michael Graves, Peter Eisenman, Bernard Tschumi, and Thom Mayne. This adds up to a lot of shiny new buildings, including the crown jewel – Mr. Mayne’s exorbitant $112.9 million Campus Recreation Center, which opened in 2006.

The article follows a familiar script: cherry-pick a recent project by some notable architect and use its shortcomings, real or imaginary, as a cudgel to disparage an entire profession. Bonus points are given if the notable building in question has some quality control issues such as a leaky roof (because bland, anonymous buildings never leak and contractors never make mistakes) or if its architect has a particularly strong personality and is prone to making provocative public statements. Then sprinkle in some colorful language like “murderers’ row” to score rhetorical points.

A couple of important points to highlight before I continue:

First, I’m on the same page with the New Urbanists at least 90% of the time, so consider this a lovers’ quarrel. Walkable neighborhoods, complete streets, form-based zoning, effective public transit, eyes on the street, historic preservation, some vaguely-defined sense of place? Sign me up; I’m all for it. You’ll find that most architects strongly support such things. In fact, the Project for Public Spaces has its roots in the work of William H. Whyte, a high priest of healthy urbanism and mentor to Jane Jacobs. Whyte’s book City: Rediscovering the Center has probably had more influence on my thinking about architecture and urbanism than any other single book.

Secondly, as somebody who recently finished grad school at UC with well over six figures in student loan debt, I’m certainly not unsympathetic to the state of higher education in America these days. My parents bought their first house for less money than I’m paying for my education, and I’ll be paying for it until I’m almost at retirement age. The issue is very personal for me, and I’ll be the first to agree that higher ed is in crisis, professors are underpaid and exploited, and that quality is suffering.

University of Cincinnati [Brian Spitzig]

But this anger toward signature architecture is severely misdirected.

Students at nearly every university are being exploited by exorbitant tuition and declining quality of education, so to blame the University of Cincinnati’s Signature Architecture Program for such problems is more than a bit disingenuous. Drexel University in Philadelphia has a rundown campus consisting mostly of bland, 1950s-era buildings, and you can be certain their students are feeling the same pressures as those at UC.

Ironically, the Project for Public Spaces article has nothing but praise for Harvard, an elite private university with a $36.4 billion endowment and an acceptance rate of less than 6%, where undergraduate tuition exceeds $40,000 per year. Perhaps the author feels that a humble public university in some flyover state is getting a little too aspirational by hiring world-renown architects for its campus.

Instead of blaming rising tuition costs on architects who happen to be good at what they do, we should consider blaming bloated administrative expenses, skyrocketing salaries for university officers, and a dysfunctional financial aid system that pumps unlimited free money into university coffers while forcing graduates into decades of indentured servitude.

More broadly, it’s time to permanently retire the term “starchitect” and its variants. Within some New Urbanist circles, the word “starchitect” has become a pejorative for any architect with above-average design talent, as an insult to an entire profession lobbed by people who lack the inclination to do any research into what it actually means to be an architect. The term reflects lazy thinking, and reeks of the same anti-intellectualism of those who blithely dismiss the work of climate scientists or look at a Jackson Pollack painting and scoff, “my preschooler child could’ve painted that.”

As with the debate over the Cincinnati Streetcar, the arguments are more ideological than about the merits of any specific project. We live in a time where the entire concept of professional expertise is under fierce attack by faux-populists, usually (but not exclusively) on the right wing of the political spectrum. Universities are seen merely as trade schools, and architecture that dares to express any ideals above pure utility is immediately suspect. As the great George Carlin observed, the people in charge of our discourse only want “obedient workers ­– people who are just smart enough to run the machines” but not smart enough to question why their standard of living keeps declining. An unusual-looking building serves as a handy scapegoat while real problems behind the scenes are ignored.

Kriston Capps wrote an article in CityLab titled “In Defense of Starchitects” that nicely articulates conservative hatred toward signature architecture in the public realm:

Important architecture tends to reflect a popular mandate. High design leans liberal, as it were: Museums, libraries, university buildings, performance halls, train stations, government centers, and so on usually serve the public good (often with public funding). So a whole lot of fine architecture is anathema to movement conservatism, programmatically. Not everything: Some of the finest buildings in the world are private projects driven by corporate ambition. And conservatives are invested in who and what gets memorialized and how.

This framework helps to explain why conservative critics love to hate the “starchitect.” It’s shorthand, a way of sorting the building arts into two categories—useful architecture that conservatives should approve and wasteful architecture that conservatives should disdain—without doing any of the real and difficult work of judging design.

Starchitect Alpha: Howard Roark in The Fountainhead

Frank Gehry seems to be the starchitect bogeyman du jour, but Thom Mayne, Peter Eisenman, Zaha Hadid, and Santiago Calatrava have also occupied that role at various times. To be sure, many architects have colorful personalities and distinctive bodies of work that make for entertaining gossip around the water cooler, but they are hardly representative of the profession in general.

The caricature of the architect as egomaniacal artiste can perhaps be traced back to Ayn Rand’s The Fountainhead, based on a sociopathic architect who blows up his own project rather than see it compromised. Roark’s character was loosely based on Frank Lloyd Wright, certainly known for his healthy ego and unique design sensibility. But as with most anything else conjured up by Ayn Rand, Howard Roark has little basis in reality. To his credit, Frank Lloyd Wright was so offended by Howard Roark that he disavowed any connection to Rand’s character, but the stereotype has stuck.

A few celebrity architects embrace the stereotype: Some are notorious for swooping into the studio and angrily berating a subordinate and scribbling some design ideas onto tracing paper before dashing off to a cocktail reception, leaving a room full of unpaid interns to furiously work all night to turn the scribbles into a feasible design concept. Unfortunately, sound business practices are rarely part of the curriculum in architecture school. But such models of practice are a minuscule fraction of the profession, and they’re a rapidly dying breed.

The architects who designed the new buildings on the UC campus represent an incredibly wide variety of personalities and design approaches. Some of them are arguably more successful than others (the problems with Peter Eisenman’s DAAP complex are well known), but to lump them all into one homogenous bogeyman belies a staggering ignorance about the profession. This isn’t to say that architects and their projects are above criticism, but critics should at least make the effort to do some basic research about what they’re critiquing if they want to be taken seriously.

Pop quiz: Without using Google to look it up, name the starchitect who designed the Steger Student Life Center at UC. Take your time to think about it if you need to.

It’s a trick question. The Steger Center wasn’t designed by a solitary “starchitect”; its design was a collaborative effort between a diverse project team at Moore Ruble Yudell in California, Cincinnati-based Glaserworks, the university, and a small army of engineers and consultants representing a multitude of disciplines. Such a collaborative design process isn’t specific to the Steger Center; it is a necessary part of the process of designing any building larger than a cabin in the woods.

I was a co-op at Moore Ruble Yudell for most of 2012, and I’ve also worked for STUDIOS Architecture, who designed the CARE/Crawley building on the east campus. The people at these firms are my friends and colleagues, and I’m incredibly fortunate to have that experience on my resume. When I read angry screeds about egomaniacal “starchitects” I certainly don’t recognize my colleagues in those descriptions, and I question whether the author has ever been inside an architecture office.

During my co-op at Moore Ruble Yudell, I was on the project team for a new student center at the University of California at Berkeley, a project with many similarities to the Steger Center. The Berkeley project was initiated by the student government to replace a decrepit facility that was in danger of failure in a major earthquake. The student council president was an indispensable member of the project team, and we took great pains to ensure that we were designing in the best interests of current and future students along with numerous other stakeholders. To read articles from authors like the Project for Pubic Spaces, though, one would be misled into thinking this was a vanity project for the university administration, and that the student body should’ve been content with a rundown building with serious seismic issues.

The hostility toward architects seems particularly acute here in Cincinnati, where so much of the city’s design culture is wrapped up in consumer branding and merchandising. Within that milieu, marketability is king and the shelf life of any design concept is measured in months before the hot new trend comes along; architects at several local firms are merely seen as the technicians who pump out the permit drawings. Too much local design work seems to be about following market trends rather than transcending them.

The shelf life of architecture is measured in decades if not centuries, and its value isn’t something that can always be quantified on a spreadsheet or market report. Designing a major academic building for a world-class university is a far more consequential undertaking than cranking out drawings for the rubber dog shit display at a few dozen Spencer Gifts locations around the country. Architects don’t have customers; we have clients, and we must satisfy multiple stakeholders with often-conflicting objectives. The client who hires the architect isn’t always the end user who occupies the building, and architects also have a legal obligation to protect the health, safety, and welfare of the general public.

For any given building, it may very well alternate between being fashionable and outdated several times over its lifespan. Yesterday’s signature building becomes today’s white elephant, which becomes tomorrow’s cherished landmark. Most of the buildings on UC’s uptown campus will be the landmarks that preservationists fight to save in a few decades. A “signature” building that lasts a century, even if the initial cost per square foot is double that of a conventional building, is far more cost-effective and sustainable than cheaply-built schlock that gets torn down and dumped into a landfill after less than 50 years. The landmarks we love so much today were often derided for being out of character when they were built, but they became landmarks because they’re exceptional. To be exceptional, by definition, is to stand out from the crowd.

Cincinnati has a cornucopia of historic architecture that, while worth preserving and celebrating, often prevents us from acknowledging that contemporary architecture can also be beautiful and of lasting quality. New buildings should always respond to their context, but too often this mandate gets interpreted in a knee-jerk manner to mean that architecture’s highest calling is to inoffensively “blend in” with its context like a chameleon, rather than standing out in a meaningful way. Instead of raising the bar, too many new buildings aim for the lowest common denominator. We end up with the architectural equivalent of a bowl of lukewarm vanilla pudding, to be consumed in a plain beige room while some smooth jazz plays softly in the background. And then people wonder why recent buildings are so uninspiring.

Time for another pop quiz. Identify the starchitect-designed structure in the photo below:

Again, it’s a trick question. As I mentioned in a recent column in this space, blaming “starchitects” for the lousy quality of our built environment is like blaming Kraftwerk for being too esoteric while Nickelback is at the top of the charts. While distinctive buildings such as those at UC garner the vast majority of media attention, we ignore the dreck that surrounds us in our daily lives: cheaply-built strip malls, McMansions, gas stations, and other architectural detritus where short-term profit is the only design principle. “Starchitects” didn’t design that or even influence it, but like a pervasive foul odor that we’ve grown accustomed to, we only take notice when somebody opens a window to let in some fresh air. The stench has become the new normal, and we lash out at the fresh air because it comes as a shock to our senses.

None of this is to imply that architects themselves should be let off the hook. The profession needs to do a much better job of opening its doors to women, people of color, and others who have traditionally been marginalized from the design process. We can’t claim to be meeting society’s needs when our profession is about as demographically diverse as a country club and “traditional” architecture is assumed, by default, to mean some variant of Western neo-classicism.

Architects also need to get their hands dirty in the political process. Our most famous architect-statesman is considered a founding father, but who have we elected lately? Over the past few decades, the architectural profession has incrementally surrendered its leadership role in creating the built environment and found itself increasingly marginalized.

Look up a donor list for any political campaign, and there’s good chance you’ll find few, if any, architects on it. Developers and contractors, however, donate in spades to ensure that laws get written in their favor. Here in Cincinnati, five of Mayor John Cranley’s top ten donors represented real estate interests in 2013, but not a single architect or architectural practice.

At the national level, the American Institute of Architects typically spends less than a million dollars on lobbying each year. By comparison, the National Association of Home Builders spends more than three times as much, and the automotive and fossil fuel industries have now been dictating our transportation policy for the better part of a century. How well has that been working out for us?

Rory Stott gets to the heart of the problem in a 2013 article for ArchDaily, describing it as a crisis of confidence within the profession:

The view of Outram and Hosey is directed against a particular sub-section of architects: on the one hand, the group we may once have referred to as “starchitects”, or, more accurately, big-name designers who are often brought in to provide an ‘icon’, or even to simply prove beyond a doubt that the entity commissioning the building “cares about good design”. On the other hand are large and usually relatively anonymous practices who are adept at satisfying the wishes of their commercial clients – the practices who make a mantra of high proportions of rentable space and low costs of construction.

However, not all architects fit into these two groups – or at the very least many do their utmost to avoid falling into the trap – and it is these unfortunate individuals that are suffering this crisis of confidence. They are the humanists who refuse to present their work as a pure game of finance, and do not wish to reduce it to some arbitrary notion of culture for its own sake.

They are the ones that have been sucked into a vicious chicken-and-egg cycle, where a losing struggle to maintain relevance leads to a crisis of confidence, which leads to meek design solutions, which leads to a further reduction in relevance. Which crisis came first: confidence or relevance? How did this cycle begin?

The future of the architectural profession — and along with it, the future of our built environment — doesn’t lie with design divas like Zaha and Gehry. They are yesterday’s news. Nor, we hope, does the future lie with the nameless technocrats who pump out an endless torrent of disposable schlock that will be obsolete and deteriorating before the paint has even dried. Down that path there is no future. We are facing a planetary crisis in which the built environment plays a critical role, and if architects are going to take a leadership role in solving it, that leadership must be provided by the “missing middle” of the profession that designs thoughtful, humanistic, and sustainable architecture.

Some New Urbanist critics are convinced that architecture students are brainwashed into worshiping at the feet of egomaniacal superstar architects, but speaking from my own experience at DAAP, nothing could be further from the truth. We certainly studied the superstars; in one class we spent several days picking apart Rem Koolhaas’s Seattle Public Library. But our studies were far from uncritical; we closely looked at those elements of the project that were successful along with those that were less successful. And we compared it with the less flashy but no less important Ballard Public Library by Bohlin Cywinski Jackson, also in Seattle. I can’t speak for all architecture students everywhere, but based on the interest each project garnered among my classmates, the future of architecture is best exemplified by the latter project, not the former.

Finally, the most important part of the process is to learn. Architects must learn about power and how it manifests itself in their design. They must learn how to wield power responsibly. This will be difficult; Foucault built an entire career around an attempt to understand power, so it’s safe to say architects will not be able to pick all this up overnight.

Fortunately, however, there is a precedent for architects to use as a guide in this endeavor: for a brief period around the 1960s, a certain type of architect thrived who had all the confidence of the modernists, but a much greater respect for the people they served, and a much greater understanding of humanist principles. Figures like Aldo van Eyck, Herman Hertzberger, Aldo Rossi, Carlo Scarpa and Bertrand Goldberg should be the prototypes on which the next generation of architects model themselves, as they break free from this crisis and embrace a new (and hopefully improved) era of conscientious yet confident architecture.

Fortunately, humanistic firms like Moore Ruble Yudell and Bohlin Cywinski Jackson who follow these precedents have largely supplanted the divas at the top of the architectural pecking order. It has been a decade since the AIA Firm Award, the profession’s highest honor for an architectural practice in the United States, has gone to a firm headed by somebody who could arguably be described as a “starchitect”. Recent recipients of the award include Kieran Timberlake in Philadelphia, the Miller Hull Partnership and Olson Kundig in Seattle, and Lake Flato in San Antonio. None of these firms are household names in the same way as Michael Graves or Frank Gehry, but these firms and others like them represent the next generation of “conscientious yet confident” architecture that Stott describes.

It’s time for humanistic architects to get their swagger back, and it’s time for armchair critics within the urbanist community to start paying attention, or else both parties risk being left behind in a rapidly-changing world.

Just think if a vacant lot near you could be turned into a solar-powered wi-fi hub and electric car charging station, a home for egg-laying chickens, or any number of other creative and productive uses. That is what a group of thought leaders are trying to accomplish with a new program they hope will gain traction at City Hall.

In an effort to promote vacant properties as entrepreneurial and sustainable turnaround opportunities, Lots of Tiny Exposition will be held this week in Over-the-Rhine.

The brainchild of local U. S. Green Building Council activists, LOT Expo is an upcoming free two-day open air exhibit in OTR to draw attention to the “sub-prime” real estate plaguing many neighborhoods.

North and South Fairmount Vacant Properties [Provided]

Specifically tied to the tiny house movement, LOT presents exhibitors that showcase inventive, small scale installations for big, immediate vacant lot impact. Exhibitors will include a tiny house on wheels, vertical garden systems, solar and wind power operations, mobile mini-chicken coops, a 1950’s Airstream retrofit, and pervious parking pads.

Organizers say that they hope visitors bring property addresses for vacant lots that they believe have potential. At that moment, they say an on-the-spot professional laptop “green diagnosis” rating report will be produced. Designers who want to stimulate new ventures for abandoned property blight will be on the lookout for those projects brought to attention.

While the idea seems easy enough, vacant lot redevelopment can actually be a complicated, multi-faceted subject requiring professional knowledge.

As a result, the LOT Forum Panels at the Expo are meant to offer public and private sector professionals to bring expertise, experience, and skills to the vacant lot syndrome – the knowhow for sustainable success. Four different panels are convening under roof at a three-minute walk from the LOT Expo venue; and panel discussions will turn attention to vacant lot gridlocks and reinvestments that lessen public subsidy supports.

Individual Lots on Massive Scale
According to Vacant Lots: Occupied – a guide produced by a group of University of Cincinnati students with the help of Keep Cincinnati Beautiful, the City of Cincinnati Department of Community Development and Building Value – there are approximately 22,000 vacant properties in the City of Cincinnati. These properties are classified as land with or without a structure that have been abandoned by its owners. It is estimated that 8,000 of these are without any structures.

Keep Cincinnati Beautiful Clean Up [Provided]

Though not as dismal as some other American cities, vacant properties account for about 10% of Cincinnati’s parcels.

Keep Cincinnati Beautiful has successfully ‘cleaned and greened’ vacant lots throughout the city. This typically means cleaning up the lot before planting grass that then requires continued maintenance. Not satisfied with that approach, KCB collaborated with the University of Cincinnati Horticulture Program to develop Vacant Lots: Occupied. This award-winning manual established an analytical guide to select and transform abandoned lots.

While many individuals and families are already helping to stabilize lots in their community, 8,000 is a big number. Ryan Geismar, one of the professors that led the UC students, says the guide was originally intended for KCB and other organizations, but that it became clear that collective effort is needed to address the blight problem.

From a large-scale planning perspective, Geismar says the best approach is to “Identify assets within neighborhoods and use strategic investment catalysts that inspire others to take action.”

Return on Investments
Neighborhood developers are drawn to prime property, usually clear, open lots with existing infrastructure. There is a dire need to address the marginal, by-passed lots that are an economic drain on our city and region. Though numbers aren’t available in Cincinnati, the city of Philadelphia highlights the imperative of critical action. In 2010, their approximately 40,000 vacant parcels consumed about $20 million in city services (fire, police, maintenance, pest control, etc.) and represented $2 million in uncollected property tax revenue.

Vacant properties have always been around; their numbers surged after the recent recession and spike in housing foreclosures. Many large financial institutions faced lawsuits over fraudulent foreclosures or mortgages; and Ohio’s Attorney General settled a suit against five of the nation’s largest mortgage servicers over foreclosure abuses, fraud, and unfair and deceptive mortgage practices.

Blight or Bonanza
One of the few cities with data and a comprehensive approach to the problem is Philadelphia where a study concluded that blighting effect from vacant parcels reduced values by 6.5% citywide and by up to 20% in some neighborhoods. In order to counter this epidemic, Philadelphia officials responded by offering landowners adjacent to vacant properties the land for little to no cost.

Since not every lot is the same, solutions require resourceful, frugal and innovative investments. With depreciated property values and dwindling public dollars spread thin, small business opportunists may see vacant lots as overlooked economic potential or reframe the problem as an engaging community asset.

Covington MadLot [Provided]

Place from Space, a design competition to transform vacant underutilized spaces into vibrant places, awarded Renaissance Covington with a $1,000 prize to transform a parking lot into a performance space after business hours. This was achieved with financial and infrastructure support from the City of Covington, and a large amount of volunteer hours from committed citizens and professional designers. The performance space, now known as MadLot, has since hosted live music, movies, and other programming since opening.

Individual efforts should not go unnoticed. Whether guerilla gardening or picking up trash, these small steps help improve appearance and reverse the effects of the broken window theory. While the sheer number of vacant lots is large, the challenge is not insurmountable. It will take economies of thrift, practical knowhow and strategic thinking to execute solutions.

A tiny house on wheels, bocce ball court, performance stage or another enhancement might find a way to a lot near you. It might not be long before you find a goat chomping down honeysuckle next door.

LOT Expo will take place from September 19-20 from 10am to 4pm each day at the New Findlay Market Playground at 1814-1822 Elm Street. The Saturday forum panel will focus on tiny living and the Sunday forum will focus on vacant lots. Both will take place between 11am and 2pm at Rookwood Pottery Company around the corner at 1920 Race Street.

The event is free and open to the public, but organizers are asking for those interested in attending to register in advance online.

Local and national developments show positive signs for America’s oft-criticized national passenger railroad company, Amtrak. A railroad reform bill introduced in the Senate contains many positive changes for Amtrak and local support continues to grow for increased service on Cincinnati’s tri-weekly train to Indianapolis and Chicago.

The Railroad Reform, Enhancement, and Efficiency Act of 2015 (RREEA, S.1626) was introduced by Senators Cory Booker (D-NJ) and Roger Wicker (R-MS) to improve Amtrak service across the nation. The bill addresses several different issues for the railroad, including expansion, funding, and leadership. It also provides an increase in funding levels for the railroad through 2019.

In terms of leadership, the legislation would reorganize the board of directors for the railroad, with two representatives for the heavily traveled Northeast Corridor, two for long-distance routes (the Cardinal), and two for state-supported lines. There would also be one “floating” member.

The RREEA also includes several sections that fuel possible future expansion of the national rail network by establishing a committee to facilitate communication and cooperation between states and Amtrak on state-supported routes. In addition, it would require Amtrak to work with an independent agency to evaluate all routes and review possible elimination of routes, expansion or extension of current routes, or the establishment of new ones.

While calling this clause problematic, the National Association of Railroad Passengers acknowledges that this text includes a “comprehensive framework for analyzing a route that recognize the unique benefits rail service provides.”

Section 301 of the act explicitly requires that the Department of Transportation set up a program to assist the operating costs of launching or restoring passenger rail transportation. The section seems to be a nod towards the amount of routes cut from the system over Amtrak’s 40-plus years of operation.

Additional clauses provide mechanisms for cooperation between states and the federal government, when it comes to addressing the backlog of capital projects within the system, Amtrak’s money-losing food service, and the restoration of service along the Gulf Coast, a line that has been out of commission since Hurricane Katrina in 2005.

After the deadly derailment in Philadelphia in May, safety across the network is a major component of this legislation.

Both sponsoring senators touted the bipartisan nature of the bill and Senator Wicker’s office released a statement identifying the national passenger rail system as an “integral part of our overall transportation structure and our economy,” and thanking Senator Booker for his support and help in creating the bill.

The Senate Committee on Commerce, Science, & Transportation voted on July 13 to include the RREEA Act into the broader transportation bill, the Comprehensive Transportation and Consumer Protection Act of 2015 (S.1732).

In the Cincinnati metropolitan area, support continues to grow for the expansion of rail service in the area, especially to Chicago.

The City of Hamilton recently applied to Amtrak for a stop and has passed a resolution of support for increased service. Nearby in Oxford, home of Miami University, initial approvals have been set to create a station for Amtrak, and efforts are currently underway to identify the exact location for that facility.

The effort has also gained support from the University of Cincinnati Student Senate, when they passed a resolution 31-1 in support of increased rail service to Chicago, citing Chicago as “an important transportation hub for students’ co-op travels, as well as an economic destination for students, staff, and faculty alike.”

According to All Aboard Ohio’s Southwest regional director, Derek Bauman, the UC student government president is also coordinating with other local university student governments to obtain resolutions of support; and in addition to Hamilton, both Norwood, where Amtrak employs local workers, and Wyoming, where the Cardinal line runs through, have also passed resolutions of support for increased passenger rail service.

Hamilton County commissioners also unanimously approved a resolution pursuing a feasibility study.

Going forward, Bauman says that there will be a need for increased cooperation and support from local Metropolitan Planning Organizations along the route. In Columbus, the Mid-Ohio Regional Planning Commission (MORPC) has actively supported the implementation of a Columbus-Ft. Wayne-Chicago rail line; and in Northeast Ohio, a consortium of local MPOs have banded together and formed a sub-group to support increased rail service to the region.

From here, leadership at All Aboard Ohio says that they hope the OKI Regional Council of Governments will take a similar approach on behalf of the Cincinnati region.

The concept was new to Cincinnati: experience music in a quiet, intimate environment free of chatter, phones, and booze. DownTowne Listening Room, located in the historic Shillito’s Building at Seventh and Race Streets, hosted its first show back in June 2014. Presented in the building’s underutilized Club Room, the inaugural show attracted 50 people to the 60-person capacity room.

Founder Scott Skeabeck is an avid music lover who moved to Cincinnati from Philadelphia about five years ago. As a frequent concert-goer and listening room patron on the East Coast, he was determined to bring the experience to Cincinnati. With zero experience producing concerts, he booked his first act.

DownTowne Listening Room [Provided]

DownTowne Listening Room [Provided]

“I think this is an unmet need in Cincy. Perhaps some people don’t even know they’re missing,” Skeabeck told UrbanCincy back in May. His hypothesis proved true over the next six months. The music series hosted seven shows and wrapped up the year with a sold-out show in November.

While the Listening Room has exceeded its founder’s expectations, the endeavor has not been without its challenges. The Listening Room is slowly building a small community of followers, but the main hurdle, Skeabeck says, is finding its audience.

The concept is unique to Cincinnati and it has been a challenge for people to wrap their heads around a venue that falls somewhere between a coffee shop and a house concert. Similar venues exist, such as Schwartz Point Jazz Club and 213 Listening Room in Over-The-Rhine, though they cater to different genres or only occasionally host events. Skeabeck also says that it has been difficult finding people who are willing to pay $10 to $15 to hear relatively unknown artists when they can hear it a bar for free.

Another challenge is the time and money to produce each show, which occurs in Skeabeck’s spare time outside of his marketing job at Western & Southern.

Once a month he and his wife set up the signage, seating, tables, and sound equipment for the show, and then break it all down that same night so the room can operate as an apartment complex club room. Skeabeck pays for the marketing, promotion, food and security out of pocket since ticket sales go back toward the artists’ guarantee. He has even gone so far to offer up his loft when an artist needs room and board.

In spite of its hurdles, the time, energy and investment is worth it to Skeabeck, who has already booked shows into July 2015.

“Of course, it’s not for everyone; but so many more have thanked us for creating a refuge of solitude where they can really hear the artist and not the audience around them,” Skeabeck concluded.